"Last but not least, man, will be a classic that really holds up and it’s not a comedy. I don’t want to end this on a neutral or serious note, but Rebel Without a Cause, man. I really, really dig that movie. I really dig that movie and I really dig James Dean. I dig what he was about. I’ve watched interviews and movies about him and stuff, and I just dig him as an artist and I really think that that captures… It’s a coming-of-age story, too, but it’s not the ones that we’re used to — that we’re going to laugh at and feel like, “Oh, they won out.” He’s coming from a very dark place as a teenager, which we all go through. I’m sure a lot of us haven’t been in the darkness as long as his character has, but we get how that feels and it’s kind of cool to see him simmering in that emotion. It’s not anticipated at all, so it’s really seamless. It’s really nice to see. You kind of see him growing up in, like, the scrappiest version it can look like."

"The Lady Vanishes is one of the great World War II films. I honestly might have seen it two dozen times. I adore it, each and every scene. As I adore almost every Hitchcock film. And, in passing, I have to mention the greatest book on Hitchcock, which is also one of the finest on film and on the creative process in general, Truffaut’s marvelous work called Hitchcock, in which he interviews Hitchcock about his films. As for Mike Leigh, he is one of my most treasured filmmakers. I love his subject matter, and I love his actors. I shouldn’t admit this, but part of the reason I love his actors so much is that I can think of no other director, no one, who works with his actors in ways so similar to my own. We could sort of be the same person as directors. And Topsy-Turvy is one of my favorite of all Mike Leigh’s films because, except for the actors who appear in it, it resembles no film he had ever shot before. The style is different. The content is different. And it’s about the theater!"

"I prefer Metal Box, but this is a wonderful album and it just shows you where Lydon was culturally at that point in time. And he was obviously a bright fella. In interviews he was always talking about bands like Hawkwind and Can, so you always knew he was going to come from the left field, but the album didn't sound like anything else. I mean, Wobble's bass, Donut [Jim Walker]'s drumming, Keith Levene's guitar. I saw them play and Keith Levene had that metal guitar and he broke string after string during every song, Wobble was just sat down, and the whole thing just captured the bedlam but it just wasn't delivering what people were expecting. If you listen to 'Religion', it is just so cutting and stark and amazing; he channelled all of the anger that he had in a way that he couldn't with the Pistols because he wasn't being manipulated. He was cynical by this point because of the way he'd been treated and all the bullshit, and it all came out on this album. It was a game changer, this album."